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Goodness: the deadline for the bookhas suddenly jumped out of the bushes and is frantically waving its arms at me! I have until August 20th to get everything done. It's about a month, but counting only the free days I have to work on it, it's actually 3 weeks. Trouble is, that is also the only remaining time I have to prepare for filming the Craftsy class too - same deadline. Yikes.

I clearly need to get my skates on. I hate to be so busy when it's summer though. I spent last Sunday working at my computer with the blinds down, while other folks were prancing around in the sunshine. Sob.

I have gone through the design layouts for almost all the book now. There are about a dozen new images to scan, because of rejigging the content at the design stage, then I have to choose sketches I want to feature as full page images for each of my chapter-header pages. It's hard to do that without having a proper overview of the content, so Quarto are about to send me a definitive version of what we have done so far.

Once the final sketches are scanned, I will at last be able to get rid of all the sketchbooks piled around the studio. I'm really looking forward to a good tidy up.

There are still a few little bits of text that need doing: extra sections that have appeared as we have made changes (it has been very much a project that you have to allow to evolve as it goes along). That won't take long though. The main job left is all the step-by-step drawings dotted through the book. I am going to do some of them live to camera, so we can choose stills from the film to use to illustrate stages of the process. It's a wee bit scary, to be honest. I am going down to London to sort that out in a fortnight. We have 1.5 days to work on the filming and sort any photography, like taking pictures of all the elements of my sketching kit for instance.Right. Back to it...

see more of my work at www.lynnechapman.co.uk

0 Comments on People-Sketching Book: My Last Few Weeks! as of 7/20/2015 10:36:00 AM

The Gawker debacle has been very entertaining. I read and respect the site too much to enjoy the clusterfuck in a schadenfreudey kind of way, but I am enjoying the intellectual stimulation provided by the whole host of journalism questions set bristling. What’s a public figure? Was the subject in question a public figure, or a behind-the-scenes media rival? Would Gawker have pursued the story had the hooker been a lady? Would the commentariat be as outraged had the hooker been a lady? Will Twitter ever let the “die on that hill” metaphor die on that hill, already?

My take briefly: The story should not have been pursued. The editors should have known better. The publisher should have been–previously–clearer that this kind of story was no longer acceptable, and he should have taken his objections directly to the editors, not to the directors. Taking the story down, however symbolic, was the right thing to do. Rather than resigning in a high-minded huff, the editors should have considered that perhaps all the people screaming at them might have had a point. The advertising director sounds like a dick.

I’ve been very lucky that in nearly twenty years at the Horn Book I’ve never had to have the kind of conversation that should have gone on at Gawker. Reduce expenses, increase circulation, get your monthly reports in the month they are actually due, Roger–I hear those things all the time. But none of the people who has served as Horn Book publisher has ever tried to quash content. And in cases where outraged subscribers or aggrieved advertisers have complained, the publisher has always backed me up. Thank you, gentlemen and lady.

But when I read that one concern of the Gawker publisher was that the post in question might have lost them advertising dough worth seven figures in one week, my first thought was that I wanted to be very clear with you all about the relationship between Horn Book content and the advertisers who support it. (Actually, my first first thought was SEVEN FIGURES IN ONE WEEK? GIMME SOME.) So here’s the lowdown. You can’t buy a review in the Horn Book. Advertising in the Horn Book Magazine pages doesn’t get you anything beyond exposure for whatever it is you are advertising. Not advertising in our pages has no effect on our decision whether or not to review your book. The decision to give a book a starred review is made by the editors in consultation with the reviewers. As far as articles go, we welcome suggestions and submissions from all comers, but you can’t buy one of those, either.

There are two venues in which Horn Book editorial and advertising intersect. One is our Talks With Roger series, in which a publisher will pay for me (not pay me) to interview a given author or illustrator and disseminate said interview to our Notes from the Horn Book subscribers and on our website. These are friendly interviews–if I feel like I can’t be friendly to a given author or book, I turn the interview down. While we run the edited interview by the sponsor, it is only so they can offer factual corrections; they have no say over the content. The other advertorial product we create is the Fall and Spring Preview, a labelled supplement to the March/April and September/October issues of the Magazine. In these, a five-question interview of an author or illustrator of a new book faces a page of advertising from said book’s publisher, who pays for both pages. I write the questions but the publisher selects the book. Neither advertising in the Preview sections nor sponsoring a Talks With Roger gets you a review in the Magazine. (Reviews in the Horn Book Guide are essentially automatic, as the Guide is a nonselective source reviewing all new hardback books for children from U.S. publishers listed in the current print edition of Literary Market Place.)

I hope this is all clear, or clear enough. (It isn’t always. More than one Talks With Roger subject has tried telling me how “honored” he or she is to have been “chosen” for an interview, and while I try to let them down gently, I do let them down.) Please leave any questions in the comments.